Hubbard Street Dance Chicago has returned to Randolph Street to showcase its Summer Series, a three-piece program that – if not as warm as the season it ushers in – generously records the latest passions in the world of dance as accurately as a seismograph.

The start of a bold, new collaboration, the most significant event was the company premiere of the evening’s second offering–the hauntingly named Following the Subtle Current Upstream. The 2000 creation of Alonzo King (originally commissioned by the Alvin Ailey Dance Theater), artistic director of the ground-breaking, San Francisco-based LINES Ballet, this free-wheeling experiment in motion has the ensemble, clad in monochromatic leotards, languorously or frenetically erupting to a score by Indian tabla composer Zakir Hussbain, South African balladeer Miriam Makeba and composer Miguel Frasconi.

Presumably depicting “the subtle currents that exist in the body as the path of liberation,” this fluid, sometimes seemingly improvised, choreography reflects King’s interest in grounding movement in the moment, with shifting combinations of dancers flowing in and ebbing out of formation, much like the thunder that interrupts the shape shifting. The Hubbard Dancers seem entirely at home in this inventive and self-fulfilling enterprise.

The remaining works are back by popular demand, opening with Aszure Barton’s Untouched, a maroon-hued creation performed against an elegant, half-opened curtain. Sensuous with sudden, gyrating hip swings and outstretched hands and performed to music by Njo Kong Kie, Curtis Macdonald and Ljova, Untouched was set in motion before the music was selected–so, unusual for dance, the latter is servant to the former. The result is a series of mysterious processions, comings and goings, separated by curious offstage wolf whistles, that managed to be sensuous and haunting. Hypnotic stuff, Untouched hardly describes its effect on the audience.

Finally, Jiri Kylian’s 27’52”, named for its near half-hour length, opens as a company warm-up, with a huge bank of lights dangling over the dancers. The dancers are then seen to perform on a tear-away white floor that will later give way to a tear-away black one. Like scenes from a David Lynch film, the diverse action unspools with a spoken text in English, German and French extolling the artist’s vocation. The score by Dirk Haubrich was backdrop to quirky movements, descending and ascending curtains, and jerky aerobic exercises that seemed to create a waking dream. Perhaps a bit too abstract to engage us beyond its eclectic activities, nonetheless this dance game of alternating intimate encounters followed by solo exits seems as much a metaphor for life itself as dance deserves.